Menu
The New Contemporary Art Magazine

Joseph Walsh Blurs the Line Between Furniture Design and Sculpture

Self-taught designer Joseph Walsh builds lyrical pieces of furniture that are more like free flowing sculptures. Functional and aesthetically beautiful, his creations blur the line between art forms. Walsh's materials are all natural; combinations of wood, white oil, olive ash, to name a few, which he retrains into fluid shapes mimicking growth. In this way, his pieces also blur a line between the original living source and their still form. See more after the jump!

Self-taught designer Joseph Walsh builds lyrical pieces of furniture that are more like free flowing sculptures. Functional and aesthetically beautiful, his creations blur the line between art forms. Walsh’s materials are all natural; combinations of wood, white oil, olive ash, to name a few, which he retrains into fluid shapes mimicking growth. In this way, his pieces also blur a line between the original living source and their still form. In many of his works, his process involves stripping down wood pieces into thin layers, which he then manipulates and reconstructs into free form compositions. The result is abstract, organic shapes with an air of whimsical movement. Walsh realizes his most ambitious work with the help of a team of engineers, technicians and craftsmen, working out of his Ireland based studio. At his website, he writes, “I believe we can enhance the quality of our lives by surrounding ourselves with objects that possess values beyond their function or aesthetic, that possess intelligence in their creation, that one can interact with and that will stimulate senses each and every time one engages with them.” Walsh’s work can currently be viewed in the “Make Yourself Comfortable at Chatsworth” exhibition at Chatsworth House in England, on view through October 23rd.

Meta
Share
Facebook
Reddit
Pinterest
Email
Related Articles
The 164-acre park at North Carolina Museum of Art’s Ann and Jim Goodnight Museum Park gains a few new occupants this spring, in the form of two enormous sculptures. Jaume Plensa’s "Awilda & Irma," a twofer, steel mesh set of heads, and Jaime Hayon’s interactive, rocket-like "SCULPT. C" were recently installed at the museum. On April 21, NCMA marks installations with the event Hoopla: Party in the Park.
Known for his provocative installations that bend both reality and perception, Danish-Icelandic artist Olafur Eliasson (previously featured on Hi-Fructose) aims to emphasize the relativity of reality. In his latest of many ambitious projects, he situates his works in the stunning baroque space of the Viennese Winter Palace of Prince Eugene of Savoy in an aptly titled exhibition, "Baroque Baroque". While the relationship between his contemporary work and the extravagant exhibition space might not be clear at first, it comes into focus as both the art and its setting reflect a “prolific process of constant reformulation.” The double title emphasizes how the exhibition is a reformulation of a reformulation- a space of altered expectations and aesthetics.
Chen-Shun Lin’s unsettling sculptures carry their own, ongoing narratives. Whether it’s the physics of a piece or the content itself, the off-kilter nature of the works suggest a purposeful tension with each work. And often, the artist’s figurative pieces, though at times troubling, carry an unexpected grace.
Artistic duo Coarse’s recent, entrancing sculpture “States of Matter” comes in two editions of the character Noop: "Trance" and “Cosmos.” The former is a lighthearted, jaunting visit to the beach, while the later takes on a more ominous narrative as Noop moves through water. The pair's sculptures, entrancing in both details and unexpected narratives, take on a markedly seasonal tone with this release.

Subscribe to the Hi-Fructose Mailing List